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In German speaking countries Haydn’s oratorios, and particularly The Creation , have played an important role in the repertoire of choral societies and music festivals since the 1810s. However, in France, and also in Paris — “the capital of the 19th century” —, Haydn’s oratorios were performed only on rare occasions, and then they were given mostly in parts. The reasons for these circumstances can be seen in the institutional and esthetical context of the Parisian concert life. With respect to professional concert societies, like the Société des Concerts du Conservatoire , rigid obstacles were on the one hand the enormous financial risk of a complete oratorio performance. On the other hand the established type of concert programmes with its varied mixture of vocal and instrumental pieces functioned as a barrier. Most important was a lack of mixed amateur choral societies, which developed in Paris quite late, primary in the 1840s, and then only little by little. Since oratorio performances lasted to be mostly a private affaire in the first half of the 19th century, it is not surprising, that Haydn’s oratorios were studied in aristocratic salons of Princesse de Belgiojoso and Baron Delmar with the intention of both education and entertainment.

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A tanulók éneklési attitűdjére ható tényezők vizsgálata

The Analysis of the Factors on Students’ Singing Attitude

Authors: Judit Váradi and Zoltán Óváry

Siebenaler, D. J. (2006) Factors that Predict Participation in Choral Music for High-School Students. Research and Issues in Music Education , Vol. 4. No. 1. pp. 1

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of his Raumklang and the mobility of sound (suono mobile) . The music of Prometeo was relatively different to the vocal sound of the Renaissance, but its sonic development corresponds to some extent with Renaissance choral music

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asset of the Society. The emphasis on vocal music (choral music as well as works for solo voice) determined the image of the concert program, in which a symphonic category was usually present, but it was inferior or adapted to the stable performance

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Strauss, albeit with regard to genres where Mahler had not worked: opera, ballet and a capella choral music. 3. When Mahler, presenting some of his works before the public, added explanatory commentary programs, he always drew listeners’ attention to

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